I find sound and music just amazing. Lucky for me, I get to do them for a living. I'm the production mixer / dialogue editor for Fox's "American Dad" while doing some post audio and composing on the side. In the past I have done this same job on "The Cleveland Show," assisted the production mixer on "Family Guy," restored audio soundtracks for TV and film, done some sound editing and mixing, recorded and mixed a bunch of music projects, played in the Laker Band and a few rock bands, and taught high school band as well as private drum set lessons. I love to listen to brilliant sound and music people geek out about what they know best.
At a recent incarnation of the huge Coachella music festival in California, a hologram of deceased rapper 2Pac “performed” on stage, including some introductory words. Someone had to do the work of sifting through recordings of 2Pac and cutting together the right takes to make a convincing performance. That someone was Claudio Cueni, who says he spent two and a half days just cataloguing every piece of 2Pac audio that had been made available to him. In this episode of the popular Pensado’s Place podcast, Cueni talks about that and other things—like the challenge of creating words that 2Pac had never been recorded saying.
The main interview of the episode is Thom Russo, and that ain’t so bad either. Enjoy!
A few years ago I shared New York Phil trombonist Dave Finlayson’s hilarious video taken from the slide of his trombone as he played.
By now it appears everyone is doing it. My wonderful teacher friend shared this with me—thanks, Ria!
Plenty of other examples are out there, but this appears to be one of the more exhaustive, with 24 cameras distributed among the players and instruments of the Czech Philharmonic under maestro Manfred Honeck. You’ll see some neat points of view, especially if you’ve never played in an orchestra before. Less experienced instrumentalists might enjoy this closeup look at how musicians do their thing in this setting. And as a recording engineer, it’s not exactly educational, but still a reminder that every player and instrument is different, so using our eyes and ears as we mic up a session is crucial.
A clip of needs-no-introduction editor Walter Murch (Apocalypse Now, The English Patient) talking at an NFTS post-production symposium for the Imaginox Online Creative Academy of Film and Television. He’s sharing his ‘Rule of Six’—six criteria he uses to judge the worth, quality, and necessity of every cut he makes in the picture. Overall I think they actually apply quite well to sound editing and mixing as well, which, I guess, is not a huge surprise.
Here’s an excellent article in The Guardian by Jordan Kisner about veteran sound designer Skip Lievsay, whose credits include No Country For Old Men, The Big Lebowski, Waiting for “Superman”, Men In Black, Fargo, Silence of the Lambs, O Brother Where Art Thou?, and Goodfellas. One of the best jobs I’ve seen of both crafting a compelling narrative and describing our strange world in words a layman has a shot at understanding.
You know that friend who’s always asking you completely left-field questions about your job? (“So… you make all those noises… with your mouth? Or, do you have, like, a piano?”) Send him this link.
Composer Eric Whitacre, known for stirring choral compositions, has for several years been doing an experiment he calls “Virtual Choir”. He makes a guide track available for one of his pieces—something to sing along to—and asks the public to record themselves singing their part on camera and send it to him. In this particular rendition, “Virtual Choir 3,” you are apparently hearing 3746 voices from 73 countries performing together. Whoa.